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Review: Slaves - Are You Satisfied?

Slaves seem to have taken the UK by storm, with the likes of pop radio host Nick Grimshaw and Chase and Status both jumping on the band wagon. But after seeing Slaves at the Leeds NME tour, i couldn’t help but wonder what the hype is all about. Slaves have taken a very simple approach to punk, and merged with an ecstatic live performance, this may make them exciting and fresh in relation to the likes of Jake Bugg, (which many of Slaves fans seem to also like) but I couldn’t help but feel that what was left behind by the stripped back style, had been attempted to be made up for in lad brit culture, chanting between songs, and over exaggerated half naked jumping around.

Despite this, after admittedly enjoying “Where’s Your Car Debbie?” before witnessing their live performance, i decided to give their album a listen, especially after the sheer amount of positive reactions i have seen.

The debut begins with “The Hunter”, a song introducing the traditionally honest british vocal style that fills the album, and crashes through a spoken criticism of the 21st century. Laurie Vincent enthusiastically repeats “you keep it, we don’t want it” almost with a snarl, while a punchy guitar riff and heavy drums make it perfect for a full venue of angry teens. Following this is faster paced “Cheer Up London”, an undenyably annoying track in which “you’re dead already dead dead already” is screamed with a squeaky mocking tone above repetitive drums and a crunching guitar.

However, next comes “Sockets” and “Despair and Traffic”, showing a much more catchy and enjoyable side to the album, with more rhythmic heavy guitar riffs, which although are simple, work well to convey the energy that they are so loved for. Similarly, “Do Something” is pounding with scratchy guitars, bouncy, and completely genius in it’s “if you’re not moving, do something”, not only mocking the state of society, but tempting a live audience to be as ruckus as they can be.

After a slightly odd, softer central song “Are You Satisfied?”, which i very much hope is a suggestion of the duo’s lack of seriousness in themselves, and not a legitimate attempt at an emotional moment, the second half of the album’s highlights are “Feed The Mantaray”, from memory a crowd favourite, and “Sugar Coated Bitter Truth”, which I think is possibly the stand out track of the debut. 

This song, manages to encapsulate the excitement, the passion, and the energy of Slaves, without the slightly dickish attitude of the pair on stage, all while creating a song that does not seem as empty, or lacking that is, as“Hey” or “WOW!!!7AM” earlier in the album. 

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The Garden - Brudenell Social Club, Leeds

A selection of my favorite photos I took when seeing the garden last month: one of the most senseless and insane musical experiences I have ever witnessed. If ‘two-piece-fast-paced-punk meets rap’ is your thing, definitely see these fab twins if you get the chance. 

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Review: Courtney Barnett - Sometimes I Sit and Think, and Sometimes I Just Sit

Courtney Barnett, an Australian singer-songwriter and guitarist from Melbourn known for her witty lyrics and deadpan singing style, has taken the UK’s major radio and music magazines by storm after the release of her debut album and international tours. Now she presents to us her second album, ‘Sometimes I Sit and Think, and Sometimes I Just Sit’, an album sticking to its uniformed roots of spoken word overlaying languorous indie rock, however also hinting softer parts, and candy-floss rose tainted songs.

The album begins on a high note, ‘Elevator Operator’ is filled with catchy riffs and thrashing chorus’ from beginning to end, and features lyrics also reminiscent of Lily Allen’s style of spoken word. A simple drum beat sets a lighter tone, and claps fill in the gaps, with lyrics explaining a day in the life story of a man finding comfort in an elevator after considering suicide. Lyrics such as “don't jump little boy don't jump off that roof” fully illustrate Courtney’s style of writing, acting as a story teller, in contrast with your generic indie love song.

The song then swings into the album’s single ‘Pedestrian At Best’; a song building and building from the beginning, before falling into a crashing chorus of repetitive guitars and twanging vocals with hints of lo-fi. As she rants “at least I’ve tried my best, i guess” there is a sense of self doubting, but any insecurities are lost in the distorted guitars, with an incredibly British accent yelling “put me on a pedestal and i’ll only disappoint you”, just asking to be sung along to.

Next is a more subtle section to the album, in which ‘Illustration Of Loneliness’ presents a more lovey dovey approach, however with a similarly successful effect. The song’s lyrics feature especially real world situations, and the slowed down rhythm definitely makes it one for a late night dance around the kitchen. Similarly in Small Poppies, the song begins with raw poetic lyrics and self observations such as “I used to hate myself but now I think I’m alright”, setting an even more relaxed scene. But as it reaches the 3 minutes and 30 second mark, the central part to the song, it the bass drum builds into guitar solos and whining vocals, then finally peaks in a heavier section at around 4 minutes, thundering into short simple lyrical sections providing an incredible composition.

Deprestion is also a highlight, bringing out a fully emotional meaning through a song about her search for a home, and finding remnants of a life that had lived there before. It features acoustic drums and soft guitar twinkling, and though the lyrics are lighthearted, there is an obvious negative tone throughout. This is then highlighted when she explains finding “a photo of a young man in a van in Vietnam” in the house. The repeated lyric "If you’ve got a spare half a million / You could knock it down and start rebuilding”, creates a beautifully dark image, exploring how memories of this person can be lost so easily, and swirling round your brain as the song reaches its continuous end.

Finally, Kim’s caravan brings the album slowly towards its end with a slow starting verse, Courtney sings “The great barrier reef it isn't great any more” with only a bass as her backing. The song also features much more metaphorical and personal lyrical content, diverting from the usual observations. It then completes a full cycle, ending almost prematurely, even after 2 minutes of haunting backing vocals, with “Satellites on the ceiling /  I can see Jesus and she’s smiling at me / All I wanna say is.” leaving a quiet thought lingering, as the song drifts into a beautiful end.

Highlights: Pedestrian At Best, Small Poppies, Kim’s Caravan

You can stream the album right here: http://courtneybarnett.com.au/stream/

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Review: Echo Lake - Era

Dream pop duo Echo Lake return with their second full LP, this time in a much more mature and fuller manner. Whilst Wild Peace was a gorgeous swirl of heavenly dream pop, Era feels like the soundtrack to an outer space exploration, seeing the band exploring what had first been hinted at in 'Just Kids'. With 7 songs filling a full 45 minutes, the sophistication of the completion of the 2nd LP, three years after the debut, is not to be doubted

Opener 'Light Sleeper' is 6 minutes and 56 of gorgeous synths and layered distortions. While shoegaze is still obviously a genre influence for this and 'Era', the focus in much further towards atmosphere, and the repetitiveness of 'Light Sleeper is unworldly. After a shower of twinkling synths, next is 'Waves', a heavier song imaginably the most memorable of the album for its catchy vocals and dancey percussion. The song edges towards the likes of Diiv's Oshin, but still maintains its underlying dreamy softness.

'Drom', a definite highlight; that could be a soundtrack to a rocket launch, builds similarly to the opener, but then kicks into a swirly chorus of soft vocals. 'Sun' and 'Nothing Lasts' are a much more lighthearted part to the album, with twangy guitar parts and 'ooh ah's galore. 

Finally, the only song lifting into the double digits 'Heavy Dreaming', does what it says on the tin. The song begins with a luminescent journey through space, with antthemic synths and gorgeous harmonies, then gently slips into a hushed bass line. Towards the mid way point, the song slows even further, reminiscing the likes of Tame Impala's Lonerism with heavily distorted guitar, and bringing the album to its landing.

Era is available to stream right here:

https://soundcloud.com/echo-lake/sets/era-album-stream

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Review: The Cribs - Burning For No One

After 3 years without new music or hints of releases, last month The Cribs returned with news of new album 'For All My Sisters', tempting us further with the release of An ivory Hand alongside, a track showing elements of The New Fellas; with distorted guitars and a thrashing chorus just asking to be yelled along to. Vintage synths are also woven into the song's melody like gold, setting a high standard for the record and reassuring that The Cribs are not losing their cool. 

Yesterday, The Cribs previewed the second track from the album, Burning For No One. For Cribs fans the song will feel lovingly familiar, hinting guitars and honest vocals reminiscent of Glitters Like Gold or Our Bovine Public. However the song does feel a lot less like the original Cribs than anything has felt before, with jangling guitars and poppy 16th hi hats filling the verses, while short riffs similar to those of the Black Keys fill the gaps. The catchy lyrics linger in our minds long after the song has finished, and bassist Gary shouting the song's title followed by the standard "ooh ooh"s makes it a song perfect for the upcoming UK tour, as it will unquestionably be sung along to by all. The song brings The Cribs back, in a fashion we all know and love, and shows their full development of the band we all heard in In The Belly Of The Brazen Bull.

Burning For No One will be available as a limited 7" next month alongside other new track I See Your Pictures Every Day, with the release of The Cribs' sixth album shortly following on the band's own record label.